This is a stunningly beautiful album from this intrepid duo. Full of wonderful melodies, sensitive accompaniment, and Beraha's unique voice, this is a recording that I frequently finding myself getting lost in the intimate world of these remarkable musicians.

Frank Harrison maybe best known for his eighteen year association with Gilad Atzmon and his Orient House Ensemble, but has also a sound CV having played with Peter King, Don Weller, Alan Barnes, John Etheridge and Louis Stewart, to name a few; as well as leading his own highly regarded trio which has released several albums over the last dozen years.

His partner in this musical journey, Brigitte Beraha, is becoming somewhat of ubiquitous presence of late (which is no bad thing, incidentally) having been featured on recent recordings by Ed Jones, Alcyona Mick & Tori Freestone and Dave Manington's Riff Raff, and together they have formed a small ensemble that rivals any of the current scene.

As one might expect, the music performed is often quiet, introspective, and impeccably perfromed; but beyond that it is music that is totally absorbing. Demanding to be heard, it is impossible to listen to this set without giving it your full attention, piano and voice inhabit a world that invites the listener in, sharing more of it's secrets with each new hearing.

Harrison takes a quick look back over his shoulder with a solo rendition of Don Sebesky's 'You Can't Go Home Again', a theme reprised from his debut album First Light released in 2006, but it is the nine original compositions that make this album so special. There are three pieces penned by the pianist that feature Beraha's wordless vocals that blend piano and voice so seamlessly that it is almost impossible imagine the quietly playful 'For Fred (and Robert)' and the fragile beauty of the title track existing in any other context, and the cleverly worked 'Two Tone Tune'. Equally compelling is Brigitte's 'Day By Day' with the piano perfectly complementing the inherent optimism of the lyrics.

The magic continues in the jointly composed pieces that confirm and cement the compatibility of these two artists. Especially fine are 'The Broken Lantern' and 'Magica Nostra', sung in Italian, with the lilting and infectious piano dancing alongside Beraha's vocals. The guest musicians compliment the album with their gentle and subtle contributions, and the tonal palette is also graced with the subtle use of synthesizer and electronics, but in essence the music is all about piano and voice in perfect accord.​There has always been a penchant within jazz for quiet chamber like music, a different kind of swing if you like, and this album must rank along with the very best.

Reviewed by Nick Lea

ECM celebrates 50 years of music production with the Touchstones series of re-issues